辛丑年 『進宴儀軌』의 呈才伴奏音樂 硏究

• 영문명: A Study of the Accompanying Music for Court Dance on the Basis of the Chinyŏn ŭigwe(1905)
• 발행기관: 국립국악원
• 저자명: 고방자(Ko Pang ja)(高芳子)
• 간행물 정보: 『국악원논문집』제7집, 89~131쪽, 전체 43쪽
• 주제분류: 예술체육 > 음악학
• 파일형태: PDF
• 발행일자: 1995.11.30

영문 초록

From the ancient times onward, dance has been an essential part of Korean performing art tradition. Especially the accompaniment music for court dance called chŏngjae 呈才 has played an important role particularly in the court music history of the Chosŏn 朝鮮 dynasty. Therefore, this study aims at investigating of the accompanying music for court dance in the late Chasŏn period. In order to reveal the historical change of the accompanying music of court dance in the Cbosŏn dynasty, this paper is a complementary study of the first attempt to study on the historical change of the accompanying music for court dance which was published as a M. A. thesis from Yeungnam University in 1994, and reprinted in the Han kuk ŭmakhak nonjip 『韓國音樂學論集』 (Kyŏngsan: Society for the Research of Korean Musicology, 1994) No.2. The author did not deal with literary sources of the whole Chosŏn period in our examination of my first study. Thus, this paper will deal with the remaining period which was not dealt with in the first attempt. This study will be mainly based upon the Chinyŏn ŭigwe 『進宴儀軌』 (l905) and some other literary sources such documents for the royal banquet as Chirich an ŭigwe 『進饌儀軌』( l829 · 1848 · 1905) were compiled during the late Chosŏn period. By comparison of the various music titles which appeared in literary sources, a discussion may be summarized as follows: After the reign of King Sunjo 純祖(l800-1834), they became to be named unbelievable various titles for music and they did not use same title of music or court dance at same royal banquet. ln the given same coun dance, they named totally different title every perfonnances. For instance, there were such five different titles of accompanying music piece as Hyangdang kyoju 鄕唐交奏. Oungaesŏjo 五雲開瑞朝, Kyŏngt aep yŏngjigok 慶太平之曲, Ch wisŏnhyangjikok 醉仙香之曲, Sangdach unjikok 上都春之曲 for a hyangak chŏngjae 鄕樂呈才, Mugo 舞鼓 according to Chinch an ŭigwe 『進饌儀軌』(l829). The author could find out that custom was continued until the reign of King Kojong 高宗( l863-1907). Not only these five different titles of accompanying music does not seem to have indicated the five different music, but these various titles does not decide music s tune. It only meant five times different perfonnances of the Mugo repertoire. From the reign of King Hŏnjong 憲宗(1834-1849) to the reign of King Kojong, all titles of the accompanying music for court dance had added a same byname called Wŏnmugok 原舞曲 except Changsaengboyŏnjimu 長生寶宴之無. Though Wŏnmugok 原舞曲 means the original music for a kind of court dance, we could not believe that there was exist accompanying music for the typical coun dance. According to Chinyŏn ŭigwe 『進宴儀軌』(1905), there were such three different titles of accompanying music piece as Haeokch ŏmjujigok 海屋添籌之曲, Mansejangnrakchigok 萬歲長樂之曲, Namgŭksuyojigok 南極壽曜之曲 for a tangak chŏngjae 唐 樂呈才, Monggŭmch ŏk 夢金尺. And all of these titles had Wŏnmugok without exception. One of these titles, Haeokch ŏmsujigok was the accompanying music for the hyangak chŏngjae 鄕樂呈才 Mansumu 萬壽舞 and Hagyŏnhwadaemu 鶴蓮花臺舞. at a same time. In the other time, as the same title indicated the accompanying music for the tangak chŏngjae Hŏnsŏndo 獻仙桃. In the other case, Mansejangnrakjigok 萬歲長樂之曲 of the accompanying music for the Monggŭmch ŏk was to be the accompanying music for YŏSnbaekpokchimu 演百福之舞 at the same banquet. And some times it was played without any chŏngjae which had another name as Hyangdang kyoju 鄕唐交奏. And then, we can reach the following conclusion that same music was used as the accompanying music for the different six kinds of coun dances. This phenomenon is true in logically. But it is un

목차

Ⅰ. 序論 : 問題提起 및 硏究目的

Ⅱ. 辛丑年 『進宴儀軌』의 儀註에 나타난 呈才名과 樂曲名

Ⅲ. 朝鮮後期 呈才 伴奏樂曲名 考察

Ⅳ. 結論

참고문헌

Abstract